I didn't want to make 'high' art, I had no interest in using paint, I wanted to find something that anyone could relate to without knowing about contemporary art. I wasn't thinking in terms of precious prints or archival quality; I didn't want the work to seem like a commodity.

If I knew what the picture was going to be like I wouldn’t make it. It was almost like it was made already – the challenge is more about trying to make what you can’t think of.

I like making images that from a distance seem kind of seductive, colorful, luscious and engaging, and then you realize what you're looking at is something totally opposite. It seems boring to me to pursue the typical idea of beauty, because that is the easiest and the most obvious way to see the world. It's more challenging to look at the other side.

I’m really just using the mirror to summon something I don’t even know until I see it.

I can be fearlessly strong at times to protect an inner frailty.

People are always trying to find the next groovy thing, and it hasn't gone back to painting... I'd like it to go back to painting. I'm sick of all this photography and video. There's so much of it, it's almost annoying.

I'd never even thought about compromise when I worked in my studio. The major distinction is in the priority of who I ultimately wanted to please: myself or the audience.